As we begin to witness a new phase in the integration of digital social media platforms with educational institutions, we ought to ask how learning exchanges may be altered as a result. Looking to transformations in knowledge exchanges outside of formal education, we find that these technologies have already modified the ways in which communities engage with each other. Gerlitz and Helmond explain that the Like Economy built into all major social media platforms flattens exchanges between users to engagement metrics. (...) With online communities increasingly isolated from each other thanks to inscrutable recommendation algorithms, the most frequent cross-community exchanges manifest in outbursts of rage, producing a so-called ‘Dislike Society’. Practitioners would rather briefly unite to tear down other ways of living than to build new ones. Within the Dislike Society, any form of knowledge that could shape new communities is lost to the governance of algorithms in what Bernard Stiegler calls ‘proletarianisation’. To re-apply knowledge to the improvement of life, as suggested by Whitehead, the attention of learners needs to be shaped in response to new technological conditions. This is best achieved within the educational institutions that now face a reorganisation by the same companies that brought us the Dislike Society. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Francis Bacon: The Theological Foundations of Valerius TerminusBenjamin MilnerFrancis Bacon’s Great Instauration for learning and the sciences, formally launched with the publication of Novum Organum (1620), may fairly be said to have commenced fifteen years earlier with the publication of The Proficience and Advancement of Learning, Divine and Human (1605), which, revised and translated into Latin as De Dignitate et Augmentis Scientiarum (1623), became an integral part of the (...) Instauration. A few years earlier, however, Bacon made an attempt to formulate his philosophy of nature, or science, in a work which he evidently planned to publish but never did—Valerius Terminus: Of the Interpretation of Nature with the Annotations of Hermes Stella (1603?). 1 Fragmentary as it is, this work contains the ingredients of Bacon’s natural philosophy, although they are not in all respects identical with those of the later works which superseded it. The most distinctive feature of Valerius, however, is its disclosure of Bacon’s original interest in setting his program for the advancement of science on a theological footing. 2 What the nature of that foundation is, why Bacon thought it necessary, and why it was abandoned are questions that, as I shall try to show, are principally answered by an analysis of two earlier works, the Meditationes Sacrae (1597), the unpublished Confession of Faith (1602?), and Valerius Terminus itself.Bacon’s first published work actually comprises three different texts: one on rhetoric, Colors of Good and Evil; a collection of Essays; and Meditationes Sacrae. Of these, Meditationes fared most poorly in subsequent years. It was never translated into English by Bacon himself and was soon severed from the [End Page 245] Essays (VII, 229). Rarely commented upon, it has apparently been dismissed as having any significance for our understanding of Bacon’s thought, but a second look will show that this is not the case.There are twelve meditations, each of which has a biblical text, and the homilies that follow reflect biblical teaching. They have quite a range: “the works of God and the works of man,” “the miracles of our savior,” “the exaltation of charity,” “of earthly hope,” “of hypocrites,” “of heresies,” “the church and the scriptures”; but it is clear that two themes—Charity and Heresy—subsume the rest.Charity is not merely a thought or feeling but the actual performance of good works, the demand for which—in the life of the believer—is total: unless your work is God’s work “thou shalt work in pain and distress, and thou shalt look back upon thy work with disgust and reproach” (VII, 243). Three successive meditations deal explicitly with hypocrisy in religion, but Bacon brings each of these under the rubric of good works, deriding those who are ostentatious in the celebration and observation of ritual detail and cultic practice but who ignore the commandment to love their neighbor. The works of Jesus furnish the best model: all his miracles, Bacon keenly observes, “were for the benefit of the human body, his doctrine for the benefit of the human soul” (VII, 244). The religion espoused is one of good works, and Bacon invokes here, as elsewhere, the well-known definition of James (Jas.I.27): “pure religion and undefiled before God and the Father is this, to visit the orphans and widows in their affliction” (VII, 249).“Heresy” is the subject of the second group of meditations, but in these Bacon intends not so much to condemn or to exhort as to lay down theological positions. The text of the first, “Of Atheism,” is taken from Psalms 14.1: “the fool hath said in his heart, There is no God.” But this is not what the fool has thought, Bacon insists, only what he has said. “That is, it is not so much that he feels it inwardly as that he wishes to believe it.” Strive as he may to do so, however, “there remains in him that sparkle of original light (igniculus luminis primi) whereby we acknowledge a divinity, to extinguish which utterly, and pluck the instinct (stimulum) out of his heart, he strives in vain.” It is not “out of his natural sense and judgment” that... (shrink)

This paper examines the relationship between the speaker and the paintings that he ostensibly describes in a series of descriptions in the “Eikones” of Philostratus the Elder (1,20-22). As a close reading of these descriptions in the order in which they occur in Philostratus’ text reveals, the initially distanced attitude of the speaker develops into an immersion in the world of the painting, which in turn gives way to a distanced description. The symmetrical change in the relationship between the speaker (...) and the paintings overrides the boundaries between the three descriptions under consideration and suggestively underlines the erotic allure of Olympus, the ‘protagonist’ of the central description. At the same time, it should be noted that the words the speaker addresses to the painted Olympus feature allusions to their status as part of a written text. Moreover, the description immediately following the series 1,20-22 draws attention to the potentially dangerous power of immersion. (shrink)

Though underexplored in contemporary scholarship, the Victorian attempts to turn aesthetics into a science remain one of the most fascinating aspects of that era. In The Outward Mind, Benjamin Morgan approaches this period of innovation as an important origin point for current attempts to understand art or beauty using the tools of the sciences. Moving chronologically from natural theology in the early nineteenth century to laboratory psychology in the early twentieth, Morgan draws on little-known archives of Victorian intellectuals such (...) as William Morris, Walter Pater, John Ruskin, and others to argue that scientific studies of mind and emotion transformed the way writers and artists understood the experience of beauty and effectively redescribed aesthetic judgment as a biological adaptation. Looking beyond the Victorian period to humanistic critical theory today, he also shows how the historical relationship between science and aesthetics could be a vital resource for rethinking key concepts in contemporary literary and cultural criticism, such as materialism, empathy, practice, and form. At a moment when the tumultuous relationship between the sciences and the humanities is the subject of ongoing debate, Morgan argues for the importance of understanding the arts and sciences as incontrovertibly intertwined. (shrink)

This contribution argues for the retention of the MS reading ἀλλήλοισι at Ar. Thes. 471, arguing that the grammatical ‘mistake’ is deliberate and comically effective in the context of the play and against the background of Aristophanic gender linguistics.

Le cinéma, contrairement à ce qui a été beaucoup dit, a régulièrement évoqué et montré la guerre d'Algérie avant même la fin de celle-ci. Cinéma d'émotion, cinéma du refus, cinéma politique et sensible, ces films qui traitent de la guerre d'Algérie, après avoir ignoré les Algériens, les « indigènes », ont somme toute développé une palette riche de cette mémoire d'une guerre cruelle à propos de laquelle de nombreux héritiers continuent à débattre. Contrary to much-repeated opinion, the Algerian war has (...) often been evoked and portrayed in films, even before it came to an end. Brimming with emotion, rejection, politics and sensitivity, films that deal with the Algerian war, having first ignored the Algerians themselves - the "native population" - have developed a varied palette that draws richly on memories of a cruel war whose legacy is still very much present. (shrink)

To claim that there is a politics to or expressed within media technology is of course by no means new, but it remains controversial and not always well understood. Walter Benjamin’s (1986b) essay from 1936 on the political import of media technology is often regarded as the starting point of such discussions, since it foregrounds a key theme in critical theory, namely the politics of perception. In what follows, I would like to review the importance of the politics of (...) perception by first outlining Benjamin’s political analysis of cinema and then engaging with a critique of Benjamin by recent American cognitivist philosophy. This will allow a consideration of the competing phenomenological cognitive science of embodied cognition that I argue offers a better account of the mind and cognition than cognitivism. As a result of this analysis of cognition, I conclude that the philosophy of embodied cognition supports Benjamin's political theory of media technology. (shrink)

À l'occasion du projet d'informatisation du contrôle aérien civil qui débute en 1961, une équipe de psychologues est associée aux ingénieurs chargés de la réalisation du nouveau système pour l'adapter aux conditions particulières du travail des « aiguilleurs du ciel ». Cette collaboration permet à l'ergonomie de l'informatique de forger ses premiers concepts et de les appliquer au Cautra . Hébergés dès 1969 par l'Institut de recherche en informatique et en automatique , l'équipe d'André Bisseret découvre les difficultés du travail (...) transdisciplinaire avec une communauté informaticienne se défiant de cette irruption incompréhensible de psychologues sur son territoire de compétence. Ces conflits, incompréhensions et rencontres manquées n'empêchent pas l'ergonomie de développer ses recherches autour des notions d'utilisateur et d'interface et de proposer des réponses aux interrogations et aux angoisses que l'ordinateur fait naître dans le grand public dès le milieu des années 1970.On the occasion of the computerization project of civil air traffic control starting in 1961, a team of psychologists is associated with the engineers responsible for implementation of the new system to adapt to the unique circumstances of the "air traffic". This collaboration enables the ergonomics of the computer first forging his concepts and apply them to Cautra . Hosted in 1969 by the Institute for Research in Computer Science and Control , André Bisseret team discovers the difficulties of working with an interdisciplinary community informaticienne distrustful of this irruption incomprehensible psychologists on its jurisdiction. These conflicts, misunderstandings and missed connections do not prevent the development of ergonomics research around the concepts of user interface and provide answers to questions and anxieties that the computer gives rise to the general public from the mid-1970s. (shrink)

In order to show how Michel Serres’s work diverges from traditional Western philosophy, this article explores a multitude of texts and contexts against which Serres might be better understood. Most starkly, Serres’s work diverges from the eighteenth and nineteenth century Germanic tradition of Bildung, meaning cultivation through introspection, apolitical thought and character building through education. Serres’s moves away from ego-centric thought to eco-centric thought more akin to what Gregory Bateson called an ecology of mind. That is, Serres’s integrates—in a more (...) ecological fashion—poetry, science, the arts, ecology and politics to raise philosophical questions. Further, this author suggests that Serres’s reference to the nineteenth century poem Pierrot Lunaire ) serves as a trope for Serres’s over-arching philosophy. Pierrot is an artist, a sage, an outlier, a Hermes-like figure who breaks with tradition. Arnold Schoenberg’s atonal performance piece, spoken and sung, shattered the boundaries of classical music. Like Schoenberg’s work, Serres’s work, both in style and content, shatters the boundaries of traditional philosophy. Serres’s breaks open a new paradigm in philosophy. (shrink)

Commentators agree that Derrida's criteria for an event were stringent: it had to be unique, unpredictable and unanticipatable; it must come as a surprise that defies all conceptualization, comprehension, appropriation. Can any historical occurrence pass such rigorous tests and be considered an event? The question now extends to whether Derrida's writings or life should constitute an event. This article traces Derrida's use of the word ‘event’ or ‘événement’ from ‘Signature Event Context’ and early readings of Nietzsche, Blanchot, and Benjamin (...) through his 2001 paper, ‘The Impossible Possibility of Saying the Event’. Analysis shows that where Derrida appears to concede the independent existence of past events this illusion is created linguistically by supplements, the future anterior tense, and speech acts. His unsuccessful attempt to exemplify ‘events’ that were distinguishable from merely ‘what happens’ assimilates them into the latter category, which he likened to ‘rain’, a banal, minimal catachresis of nothing. The implication is that what we call history resembles a Beckett-like condition of apparent insight that reverts, on reflection, to emptiness. (shrink)

Im Zentrum des vorliegenden Sammelbandes steht die Frage nach dem Bösen in Religionen, die als monotheistisch verstanden werden oder für die zumindest die Herrschaft des Hauptgottes über alle anderen Götter und Mächte ein entscheidendes Anliegen ist. Der Schwerpunkt liegt auf dem sich formierenden Judentum und Christentum sowie dem Alten Testament. Besonderes Interesse gilt den Texten aus Qumran, und darüber hinaus erfolgt ein Blick auf mittelalterliche Heiligenlegenden. Die Beiträge des Bandes zeigen, dass es in den antiken jüdischen und christlichen Texte eine (...) große Vielfalt von Verkörperungen des Bösen gibt, sei es extern als Dämon oder Teufel, sei es intern als die menschliche Fähigkeit, Böses zu tun. Außerdem stellt sich heraus, dass in der jüdisch-christlichen Literatur Dualismus nicht grundsätzlich abgelehnt wird, aber nur Formen von Dualismus vorkommen, in denen das Böse Gott und dem Guten letztlich untergeordnet ist. Mit Beiträgen von: Jörn Bockmann, Miryam T. Brand, Jan Dochhorn, Matthew Goff, Erkki Koskenniemi, Michael Morris, Hector M. Patmore, Susanne Rudnig-Zelt, Markus Saur, Ryan E. Stokes, Oda Wischmeyer, Benjamin Wold. (shrink)

Der Artikel fragt danach, wie in verschiedenen Kontexten der europäischen Moderne dramaturgisch motivierte Praktiken der Adressierung und Beeinflussung des Publikums dessen Konzeption und Formierung als Kollektiv beeinflusst haben. Dabei werden schlaglichtartig Prozesse der Affizierung und Disziplinierung, Agitation und Aktivierung, Flexibilisierung und Diversifizierung in den Blick genommen. Der historische Wandel des Publikums und seiner Konzeption als Versammlung bildet sich, so die Hypothese, maßgeblich im Wandel seiner Adressierung und Kollektivierung ab.

Foundations of the theory of signs.--Signs, language, and behavior.--Five semiotical studies.